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Gallery: 2016 Santa Barbara Acoustic Instrument Celebration

Showcasing hundreds of drool-worthy, handcrafted instruments, a new U.S. guitar show makes its successful debut.

Kuun Guitars

Murray Kuun brought several intriguing instruments to the show from his workshop in Johannesburg, South Africa, including a carved-top jazz guitar (left) that has a more traditional look than some of his more angular designs. He also expanded on his line of flattop acoustics that boast signature swooping soundholes and mustache-style bridges.
murraykuun.com

The inaugural Santa Barbara Acoustic Instrument Celebration was held September 29 to October 2 in sunny coastal California. The event brought hundreds of top luthiers and players who displayed their craftsmanship, gave seminars, and held intimate concerts. The Earl Warren Showgrounds served as a fitting venue, as in decades past it hosted concerts from such acts as Led Zeppelin, Jimi Hendrix, the Beach Boys, the Doors, Cream, the Grateful Dead, and Janis Joplin.

The show pulled widely from Canada and Europe, with heavy representation from the U.S. West Coast. Also on sale were top-grade woods, inlay materials, and custom bindings. Luthiers were open with their time, and many fans enjoyed hearing builders talk shop. Among the visitors was Santa Barbara resident and guitar pickup guru, Seymour Duncan, who could be seen checking out all the beautiful instruments on display.

Stevie Van Zandt with ā€œNumber One,ā€ the ’80s reissue Stratocaster—with custom paisley pickguard from luthier Dave Petillo—that he’s been playing for the last quarter century or so.

Photo by Pamela Springsteen

With the E Street Band, he’s served as musical consigliere to Bruce Springsteen for most of his musical life. And although he stands next to the Boss onstage, guitar in hand, he’s remained mostly quiet about his work as a player—until now.

I’m stuck in Stevie Van Zandt’s elevator, and the New York City Fire Department has been summoned. It’s early March, and I am trapped on the top floor of a six-story office building in Greenwich Village. On the other side of this intransigent door is Van Zandt’s recording studio, his guitars, amps, and other instruments, his Wicked Cool Records offices, and his man cave. The latter is filled with so much day-glo baby boomer memorabilia that it’s like being dropped into a Milton Glaser-themed fantasy land—a bright, candy-colored chandelier swings into the room from the skylight.


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